Cultural organisations like the Everyman & Playhouse are important to the wellbeing of cities like Liverpool, not just to the wider community but they are also vital to business in many ways including making this a great place to live and in fostering creativity.

John Sutcliffe, Chair of Liverpool & Sefton Chambers of Commerce

AUTUMN WINTER 2015 ISSUE 1

LivEveryPlay

Leveraginga total turnover of£5,754,809

Welcome to the fi rst edition of LivEveryPlay, which provides a glimpse into the rich life of the Everyman & Playhouse that lies behind our stages.

With the exception of the wonderful Odyssey - which has just left us to fl y Liverpool’s cultural fl ag around the country - you’ll notice a distinct lack of shows. That’s because there’s so much more to the e&P that doesn’t often make it into the spotlight.

Here, we celebrate the value of the theatres to our local community and our regional economy; showcase the extraordinary talent that we have been able to nurture into Liverpool’s vibrant theatrical community; and reveal how we develop the skills and potential of future generations. We introduce just one of the many unsung heroes who bring our artists’ vision to the stage for you. And a passionate theatregoer tells the simple and beautiful story of how he is supporting the future of theatre in our city.

We hope you enjoy fi nding out about the lesser-known aspects of life in your theatres. And, as always, we look forward to sharing the thrill of great theatre with you very soon.

Everyman & Playhouse centre stage on the BBC

The BBC is putting theatre centre stage this November with a major season of programming celebrating Britain’s incredible theatre talent, from world-class actors to cutting-edge regional theatre. On Stage is a series of eleven documentaries fi lmed across the English regions to be broadcast simultaneously on BBC1 on Monday 9 November. The Everyman represents the North West and follows the journey of The Odyssey: Missing Presumed Dead from the page to stage and celebrates the theatre’s past and its future.

“BBC On Stage celebrates the everyday heroism of our theatres, the diversity of the work and talent they support, and the ambition and derring-do that makes British theatre the best in the world.”Jonty Claypole, Director of Arts, BBC

Catch the whole series on iPlayer and details of On Stage - The Everyman on our website.

2014 - 2015Impact of Investment

£1,649,977

grant£688,434

grant

Welcome

sharing the thrill of great theatre with you very soon.

Gemma BodinetzArtistic Director

Deborah AydonExecutive Director

AUTUMN WINTER 20152.

All fi gures are gross and for the fi nancial year 2014-2015, except *

which are taken from the Audience Finder 2013-2014 audience questionnaire

CORNWALL

BRISTOL

IPSWICH

LEEDS

COLCHESTER

SALISBURY

EDINBURGH

YORK

SHREWSBURY

MALVERN

BIRMINGHAM

OXFORD

NOTTINGHAM

BRIGHTON

412performances

across our 3 stages

95%audiences strongly

agreed or agreed that e&P make a ‘positive contribution to the

city’s image’ *

84%audiences strongly

agreed or agreed that e&P were a ‘welcoming

place for the whole community’*

£15.6mOur value to the Liverpool City Region economy was

£245,720from funds raised through philanthropic and grant

giving and raised £687,000

for future years

We spent

£15.65

Our average ticket price was

meaning that many of our tickets

are affordable & accessible

9 e&P productions including 5 world premières 4 by Liverpool writers

15%

young people

of our audience were

(i.e. under 26)

We contributed

£627,532 back to government

in tax and NI

3,720young people

of our audience were

(i.e. under 26)

135,496 people experienced a performance created by or promoted by e&P

3,720 people enjoyed one of our

accessible performances including audio described, captioned, BSL interpreted

and relaxed

22

e&P productions were also seen in:

There were 20,677 attendances at participatory sessions, including 43% as part Young Everyman Playhouse (YEP)

We purchased £2m worth of goods and services, of which 44% was spent in the North West

£1.9mWe generated

in income at Box Office

£3,159,355 spent on payroll, artists and

creative fees, creating full or part time employment for 180 people

We worked with

336actors, artists and creatives

10,959 people visited from outside Liverpool City Region

ISSUE 1 3.

Lew

is B

ray

in C

arto

onop

olis

Ignition

With Cartoonopolis I really learned on my feet. I have learned so many skillsLewis Bray

“I never thought I’d do a one-man show,” says Lewis Bray.

The 25-year-old actor became one of YEP’s most recognisable successes to date with his warm and funny show Cartoonopolis, the story

of his younger brother Jack and how he sees the world as a person with autism.

The show, performed at the Playhouse Studio in February this

year, was developed through Ignition and the Talent Fund.

Lewis went on to perform a segment for a selected audience at the National Theatre, and promoted the show on BBC Breakfast news.

He hopes to perform the show again in future.

Lewis had always dreamed of being a professional actor, yet was left disheartened by being unable to secure a place at drama school.

It was while studying at Liverpool Community College he met YEP Director Matt Rutter and struck up a friendship that really allowed his talents to shine through.

He joined YEP, performing in productions including Papertown and The Grid. But Lewis wanted to push himself out of his comfort zone, and began working with Matt on a personal project.

“When I was told about the Talent Fund I was over

the moon,” he says.

Every now and then, someone comes along, who is clearly exceptionally talented and has the potential to do great things. Traditionally, it’s been very difficult for the Everyman & Playhouse to respond to these artists, especially if they don’t fit into a particular field such as writer, actor or director. In response to this, the theatres created a new programme to support emerging local artists called Ignition. It was made possible by donations made by the public which has created a rare and unique opportunity to respond flexibly as talent is discovered.

The Talent Fund is starting to have a real impact on creating new work and supporting talented individuals. Over the last 18 months the Talent Fund has supported people such

as actor Kieran Urquhart who was recently in Scuttlers at the Royal Exchange and will soon be in Leicester Curve’s The Witches. Talent off-stage has also been given the chance to flourish. Following their time at e&P as Trainee Assistant Producers, Martin Poile and Bernie Whittle have gone on to positions at Headlong and National Theatre Studio, while Michelle Grant is currently benefitting from the same opportunity.

Everyman & Playhouse’s Associate Director Nick Bagnall is the man on the lookout for the unsung talents that could be ideal candidates for Ignition, taking in the work of performers of all kinds throughout the city.

“It’s about seeing a spark in someone and being able to invest in that,” he says. “It is something that is really exciting to do, and something that doesn’t happen often in this industry.”

The Ignition bursary gives recipients the chance to use the Everyman’s rehearsal space,

collaborate and network. No specific outcome is demanded – it is all about supporting creativity.

Importantly, this means the fund is kept and spent locally, and by creating opportunities for performers in the city it goes a way to prevent a creative talent drain out of the North West.

Nick adds: “There’s so much talent out there, and Ignition is helping to find young people who are underrepresented in the industry, those whose natural habitat isn’t a theatre - and that makes it really exciting. The great thing about this fund is there are no parameters. Regardless of background, if you’ve got talent it will be recognised and promoted.”

It’s about seeing a spark in someone and being able to invest in thatNick Bagnall

AUTUMN WINTER 20154.

My dreams and goals have all been made possible by the Everyman and the Talent FundLewis Bray

Andre

w S

chof

ield

& L

ewis

Bra

y in

A Midsummer Night’s Dream

“They could see I had the skills to develop a one man show, and when I told them about my brother Jack, we realised that was the story I had to tell. With Cartoonopolis I really learned on my feet. I have learned so many skills.”

After his show, with the support of Nick Bagnall, Lewis went on to play Francis Flute (and Thisbe) in the Everyman’s A Midsummer Night’s Dream, secured an agent, and is now hoping to move into TV and film work.

This is exactly what I wanted to do – work with professionals and develop myself,” she said. “It’s just amazing. I want to leave this project as a made artist, understanding how the industry works and building a portfolio, so I can go out into the world and do whatever comes my way

Raven Maguire

Rav

en M

agui

re p

er

form

ing in a music video

Rav

en M

aguire

direc

ting

with

20 S

torie

s Hig

h

Describing herself as “a performance poet, aspiring theatre maker and singer-songwriter”, Raven Maguire was working at the theatre box office when she found out about Ignition.

It was just the opportunity the 21-year-old from Kirkdale was looking for - she had been gaining experience across the Liverpool theatre scene for a few years but was looking to take things to the next level.

Upon graduation from Hugh Baird College, she became involved with youth company 20 Stories High both on and off stage, took

“My dreams and goals have all been made possible by the Everyman and the Talent Fund,” he says. “I have really found what I want to do, and now I can put myself out there as a professional.”

part in the Regional Theatre Young Directors Scheme, and had started taking part in slam poetry competitions.

After performing one of her pieces in an Everyword Platform event – a ten minute poem about Nikola Tesla and quantum physics – she was inspired to take that aspect of her artistry further. “It was just exhilarating,” she said. “After that I really stepped my game up and it gave me such confidence.”

It was this talent that came to the attention of Nick Bagnall as he was on the lookout for new Ignition Artists.

Keen to improve and develop in all areas of performing, Raven has used some

of her bursary to undergo vocal training and through the Everyman’s

networks she benefitted from an introduction to Sense of Sound singer Jennifer John, who has mentored her alongside Nick.

“So far Ignition has given me this amazing space and access to work in the Everyman rehearsal room, and the writer’s room, I have been working with Jennifer John, it’s been a proper development process and it’s been really great.”

Raven hopes to showcase her work at the Everyman with a full performance

at some point next year.

“This is exactly what I wanted to do – work

with professionals and develop myself,” she said.

“It’s just amazing. I want to leave this project as a made artist, understanding how the industry works and building a portfolio, so I can go out into the world and do whatever comes my way.”

ISSUE 1 5.

The Odyssey: Missing Presumed DeadBy Simon ArmitageDirected by Nick Bagnall

…tremendous theatre. An

ambitious, epic new work

The Stage

An exciting show that

combines the classical with the

contemporaryMember of the Drama

Teachers Forum

AUTUMN WINTER 20156.

Breath-taking and magical

Audience member

Students were on the edge of

their seats!Birkenhead SixthForm

Genius…funny and full

of surprisesThe Times

A timely modern political drama...

FascinatingThe Guardian

Awesome adaptation of The Odyssey; humour, peril, and satire in all the right places!

Congratulations to all involved Audience member

via twitter

ISSUE 1 7.

AUTUMN WINTER 20158.

THE PRODUCER THE DIRECTOR THE ACTOR

Michelle Grant, 23, is a trainee Assistant Producer at the Everyman & Playhouse. She joined YEP’s Young Producers strand after graduating from John Moores University with a degree in drama. From there, she became interested in pursuing a career behind the scenes.

“I wanted to go into producing but it was very hard to fi nd a way in,” she said. “I found out about the YEP producers’ strand through friends who were already involved.”

She was one of fi ve people taken on as a YEP Producer last year, and worked on a number of recent productions including Robin Hood, Until They Kick Us Out and The Bacchae, as well as its bi-monthly Scene Change scratch performance evenings.

“YEP taught me enough to be able to come along and succeed in the interview for this job, and I’ve learned so much even in these fi rst few weeks, fi nding out what you need to do to make a show happen, and how much is involved,” she says. “This has been such a massive opportunity that I never thought would come this quickly. It’s an ideal opportunity to boost my career and it is a real bridge between education and employment.”

Keiran Urquhart has come a long way in a short time. After joining YEP’s Young Actors in time to help devise and perform in The Grid, the company’s fi rst work for the new Everyman stage back in April 2014, he went on to quickly land his fi rst professional job in Jeff Young’s Bright Phoenix, which premiered at the Everyman in October last year.

That lead to a role in Scuttlers at Manchester’s Royal Exchange Theatre, and Keiran will soon tour the UK and Hong Kong as Bruno in Leicester Curve’s touring production of Roald Dahl’s The Witches.

Wirral-based Keiran, 20, had always wanted to act, but never imagined it was something he could make a career of. After school, he studied drama at Liverpool Community College and was pointed in the direction of YEP.

“It’s been a whirlwind for me, and I owe a lot to everyone at the Everyman,” he says. “When I performed in The Grid, I realised it was defi nitely what I was meant to be doing.

“YEP really made my dream possible and made me think ‘I can do this’. When I look back I can see how pivotal they were in pushing me to achieve things - it is a great foundation for anyone. If I hadn’t joined, none of this would have happened.”

Sarah Van Parys graduated from YEP’s two-year Young Directors course this summer, and is currently working on a three month placement at the Everyman & Playhouse as part of the Regional Theatre Young Directors Scheme.

This has given her the opportunity to work as assistant director of the Everyman & Playhouse and English Touring Theatre’s current production of The Odyssey: Missing Presumed Dead, alongside associate director Nick Bagnall.

“To be able to work with a full crew

on a professional production is just so

fulfi lling. I just love the whole process

and thrive on the pressure,” she said.

Sarah, now 24 and originally from Preston,

graduated from John Moores University with a degree in drama, working on fringe

shows in her spare time to develop her skills.

However, it was the level of professional help and advice available to her as a member of YEP that eventually enabled her to progress to the next level. YEP’s artistic director Matt Rutter suggested she apply for the RTYDS programme.

“To be a director is my career goal, and

I had always put on my own shows and

learned by trial and error. YEP have been

so supportive, and not just in terms of

putting shows on – they’re always there to

talk to and offer feedback and advice.”

Michelle’s next show will be:

THE WONDERFUL WORLD OF DISSOCIA

Wed 4 to Sat 7 Nov

YEP’s production of Until They Kick Us Out

In Rehearsals for The Odyssey:

Missing Presumed Dead

Keiran in Bright Phoenix by Jeff Young

ISSUE 1 9.

THE

COMMUNICATOR THE WRITER THE TECHNICIAN

A passion for regional stories and a natural talent for writing helped see Daniel Matthew’s fi rst full length play produced at the Playhouse Studio.

Daniel, now 27 and originally from Leeds, studied drama at John Moores University with the hope of becoming an actor. Instead, his playwriting ability shone through and a tutor recommended the year-long YEP Young Writers programme.

From there he secured the funding to write his fi rst play, Scrappers, initially for the Everyword new writing festival. It was so well received it went on to be given a proper theatrical run.

The play was the story of a group of scrap metal workers in Fleetwood dealing with changing times and an industry under threat. Daniel went on to become Leverhulme Writer on Attachment at the theatres.

“I like writing dialogue and telling stories that refl ect the life I know,” he says. “The Everyman & Playhouse are the greatest theatres in the world. You go to some other theatres and there’s defi nitely a class divide. Back home, a lot of my friends wouldn’t dream of going to the theatre. So it excites me to tell stories that don’t get told.

“When I started the Young Writers course I never once thought it would end up being what it became, but I absolutely loved it. The theatres’ literary manager Lindsay Rodden was so thorough and enthusiastic, and it really rubbed off on me. It was an invaluable experience.”

Daniel now has a literary agent and is currently working on his second play, Folk Off, as well as beginning to write for television. He is the director of the youth theatre at the Dukes Theatre, Lancaster.

Lewis Shrigley is now in his second year of training as a YEP Young Technician, and hopes the experience will be the beginning of a career in the industry.Lewis, 21, from Anfi eld, initially applied out of curiosity and soon found himself hooked.

He says: “I saw a fl yer for YEP and thought I’d give it a go, and right from the start I loved it. I was looking for something hands on and practical, and here you learn something new every day.”

As a Young Technician, Lewis comes in twice a week to learn from the Everyman & Playhouse’s technical team and so far has worked on more than 20 shows for YEP and other small local companies. The course has taught him all aspects of setting up a show, set lighting and much more.

“I’ve found what I want to do and it’s my aim to get a job in theatre now,” he says.

“Before doing this I’d never had an interest in it; I’d never even had the chance to see a show, and it was the same with a lot of people I knew. Now I think people are more interested – and I’m always telling them ‘you have to come and see this show, it’s unbelievable’.”

Peter Greggs was part of the fi rst intake of YEP’s Young Communicators. He now works for an up-and-coming design agency in Liverpool city centre.

Now 21, he is the creative manager for start-up

company Papertwin. Peter was a sixth former

at school in Knowsley when he joined YEP,

and stayed until the fi nal year of his media

production degree at John Moores University.

“To be able to work in theatre at such a young

age really appealed, but being on stage

wasn’t for me,” he said. “I love theatre with

a powerful message, that has people leaving

with a different mindset, and I realised that’s

the same thing I love about media as well.”

Working with the Everyman & Playhouse communications team, the Young Communicators played an active role in the

launch of YEP and made collective decisions

about branding and the promotion of the company’s shows, as well as making short fi lms

for the Everyman & Playhouse YouTube channel.

“It was amazing and I do hope to be able

to come back and work with YEP again in

the future,” Peter says. “Working with the

communications team taught me a lot right

from the start, and instilled in me a new way

of working that is still useful to me today.”

With the re-opening of the new Everyman, YEP established itself as one of the country’s foremost theatre companies for young people. And while many members join for fun, for others it provides a starting point for a professional career. YEP now offers opportunities for young actors, producers, directors, communicators, writers and technicians to learn more about all aspects of theatre making. Here are the stories of some YEP alumni taking their ambitions to the next level:

Daniel’s play Scrappers in the Playhouse Studio

YEP leafl et designed by the

Young Communicators

The YEP Young

Directors Festival

Staff Spotlight...

From Hollywood stars to panto dames, Jacquie Davies gets up close and personal with every actor who takes to the stage in an Everyman & Playhouse production.

Jacquie has been at the theatres’ since 2008 and has worked on every in-house show since then. With a background in textile design, she has worked in theatres across the North West and Wales, and on television soaps.

“Working here is so creative – it’s a lovely environment where you’re surrounded with like-minded people,” she says. “And every new show we do, I have a diff erent set of challenges. My job is fantastic – I get to go shopping for shoes and handbags, and get to make beautiful things.

“There is a lovely working atmosphere and nobody has ever been ‘starry’ - we’re all working towards the goal of putting on a great show.”

Once the designer and director have come up for the concept for a production, it is Jacquie’s job to make the costume designs a reality.

This is usually at the beginning of the rehearsal process, giving some four weeks for everything to be ready on time. At busy periods, Jacquie will take on assistants, but works alone for the most part. She shops for contemporary costumes and makes everything else by hand, taking on board suggestions from cast and crew about what might work best, while keeping things as comfortable and durable as possible.

She says: “Some actors have very strong ideas about what they want to wear, and that’s always good, to get to know that character a bit more. Some directors are really keen on costumes, and some are not especially interested. The requirements for a show can change a lot, but it’s an organic process.”

In panto season the dame’s outlandish costume changes are a major part of the fun.

Jacquie is now so familiar with the requirements of Rock ‘n’ Roll panto regulars Francis Tucker and Adam Keast that she can crack on with work for the festive show

much further in advance than regular productions – and with a to-do list

that can include anything from princesses to prawns and

cows to wicked queens, that can be just as well.

Jacquie’s favourite panto dame outfi ts

have included making a dress styled as a wok, and one as a garden, with steps coming out of the costume.

Of all the productions she has been involved in, Jacquie cites the three Roger McGough Moliere adaptations - Tartuff e, The Misanthrope and The Hypochondriac – as her favourites over the years. A combination of the period detail of the costumes – often too expensive to re-create for the stage in full – twinned with modern fl ourishes made for an exciting visual spectacle as sparkling as the witty reworking of the text.

As with all other aspects of the design of the new Everyman, a fi t-for-purpose space for costume-making was desperately needed; and now the department boasts the kind of workroom a dressmaker dreams of.

“The old Everyman wardrobe room was cold and defi nitely wasn’t ideal, and at the Playhouse it is rather small, which makes it tricky,” Jacquie explains. “Here I have got a purpose-built fi tting room, that can be curtained off to be private; laundry and dyeing facilities; space for wig making and space to be able to create big things; fabulous state-of-the art cutting tables and machines; there’s plenty of natural light – it’s fantastic. I still can’t wipe the smile off my face.”

Jacquie DaviesHead of Wardrobe at Everyman & Playhouse theatres

There is a lovely working atmosphere and nobody has ever been ‘starry’ - we’re all working towards the goal of putting on a great show

Jacquie Davies

Francis Tucker in the Rock ‘N Roll panto The cast of The Misanthrope

Supporter Spotlight...Michael KeyA gift for the future

The theatres’ commitment to new work makes it so worthwhile to contribute to. It is all about the next generation

Michael Key

For more information or to discuss leaving a legacy

to the theatres, contact Head of Development Rowena Dean

0151 706 9115r.dean@everymanplayhouse.com

For those who love theatre, it is much more than a visit to see a show, it is part of who they are. Often, that fi rst encounter with theatre can be life-changing and the start of a lifelong love of the art form. Sometimes that love translates into fi nancial support, and, for some, into a decision to include theatre in their will.

Michael Key from Everton has been one of the fi rst people to leave a gift to the Everyman & Playhouse in his will.

A passionate theatre-goer who has seen nearly one hundred productions and concerts across the city this year alone, Michael, 75, was looking for the right opportunity to see part of his legacy go to a good cause.

“When the fundraising appeal was launched when the Everyman re-opened, it made me think that I wanted to do more than just make a monthly donation,” he says.

Leaving a gift to charity was something Michael had seen the importance of fi rst-hand through his work with the RSPCA, which receives a large portion of its funds in such a way. As he thought about how he would like to distribute his own estate, he considered several cultural organisations before deciding on the Everyman & Playhouse.

There is such a fund of goodwill behind these theatres,” he says. “At the Playhouse, I enjoy the quality of the productions, and I know I will be challenged at the Everyman - I keep an open mind and am always fascinated by what I see. The theatres’ commitment to new work makes it so worthwhile to contribute to. It is all about the next generation.

Michael’s passion for theatre and performance began at an early age, when his father took him to a classical concert as a boy. Born in Dorset, with his fi rst theatrical experience in Bournemouth, he moved to Liverpool for work in the early 1980s.

But it wasn’t until Michael retired from his job at the RSPCA 12 years ago, following on from a career as a political party agent, that his passion for Liverpool theatre really took off . Back then, while introducing the city’s theatre scene to his visiting cousin Leslie, in a bid to dispel the usual stereotypes – they could easily see a diff erent show every night for a week - he realised what a wealth of cultural activities the city had to off er.

With the agreement of his family, he has decided he wants to leave 20 per cent of his estate to the theatres. Michael recommends anyone considering leaving a legacy discusses their wishes openly with family fi rst.

Before committing to leaving a chunk of his estate to a charitable cause, he made sure that the other benefi ciaries of his will knew what he was planning and understood why he had made such a decision.

“I think my family are pleased, and if more people consider doing this it would break down some barriers to donating in this way,” Michael says. “It is something that everybody can do – it is not about being marvellously wealthy. If a lot of people give just a little through a legacy, together it can make a big diff erence.

“I get quite a kick out of knowing I have made this commitment. Things like this give you a sense of purpose, and I fi nd it very rewarding.”

Rowena Dean, Head of Development at the theatres adds “It has been such a pleasure getting to know Michael over the past few years and his love of theatre is immediately apparent. When he fi rst told me that he’d decided to include us in his will I was massively touched by his generosity. As he says, you don’t have to be wealthy to make a diff erence, and I know from experience that this type of giving can have a huge impact on arts organisations such as the theatres as well as being profoundly satisfying for the supporter”

Michael Key with YEP member

ISSUE 1 11.

The ‘sink’ in the paint-shop at

the Playhouse is actually a cast

iron bath. Up until the 1960s there

were no showers for the actors,

just a single bath. What is now only

used to wash brushes was almost

certainly graced by some of the

greats of twentieth century theatre

like Michael Redgrave, Robert

Donat, Peggy Mount, John Thaw and Patricia Routledge.

The Museum of Liverpool is

currently hosting an exhibition

which celebrates the Everyman.

Showcased in the atrium, the display

includes a few items that link to the

construction and design of the building

including an old boot that was discovered

inside a wall when the old building was

taken down, along with a prototype of the

one of the shutters from the Portrait Wall.

You can see the display at the Museum

of Liverpool until the New Year, free

admission, open daily 10am-6pm.

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MALCOLM AND ROGER FROOD IN MEMORY OF GRAHAM AND JOAN FROOD

And everyone who has supported the new Everyman

Thanks to the City of Liverpool for its financial support The Everyman

now houses

two beehives on

its roof. Great for

making some

Hope Street

honey

DID YOU KNOW?

A number of disco balls line the turrets of the Playhouse, does this mean Williamson Sqaure is home to the world’s first known Pigeon Disco?Words Vicky Anderson

Photographs Gary Calton | Jonathan Keenan | Dan Kenyon | Brian Roberts | Christian Smith | Wesley Storey

AUTUMN WINTER 201512.